Binged the entire seven of Ben Aaronovitch’s Rivers of London novels again, ’cos sometimes a girl just wants a black Harry Potter and a Muslim Hermione — even if they are cops.
In all seriousness, we go to 11.
“It doesn’t go to eleven, Frances.”
“Ok, we go to 10.”
Not the southern ocean but I got my head underneath it.
First plan: drive to Cape Paterson or somewhere remote and beachy. Second plan: train and bus to Airey’s Inlet. Third plan: public transport to somewhere east-side of the bay. Final plan: train to Williamstown Beach, just down the road. Deep, clar blue sky, hot sun, slight breeze from the south, cool water and getting my head in it. Falling asleep on the sand. Best plan.
Those two railway bridges: Grosvenor St and Nightingale St. I would start on the south bluestone wall of Grosvenor, do six laps, right-to-left and left-to-right, then move onto the north side, slightly harder in the last half. Then if my fingers had any skin left, I’d go up to Nightingale St and work on the north side from the left — the south side had all this hardware clogging it, street signs and other rubbish. That north side was always the hardest thing I’d climbed, not sure if even out on real rock, in the Grampians or Guangdong, I climbed anything harder. The repetition appealed to me, same thing over and over, having a relationship with the rock. I’d tape my fingertips to get through the last laps, but in the end it was attrition, my skin would give out first. In winter, the first lap or two would be agony as the cold rock cut in, harder to climb but something proper in enduring it. There’s more graffiti now, about the same amount of dirt and clag, a few marks of chalk, unlikely to be my leftovers, even though they mark my route. Emile walked with me as I traced my moves, memory in physicality, movement, emotion.
April 12, 2004. I took a photo of my fingers crimping a small, diagonal edge in the sunlight. I blogged it as Edge of Doom. It was the start of the last tough string of moves before finishing the right-to-left traverse, a deeply satisfying hold and one reliably likely to spit me off the wall. March 27, 2018, I’m standing there with Emile, walking alongside the wall remembering all the holds and moves. I haven’t seen or touched these trio of walls in more than ten years, but the memory — physical, mental, emotional — feels like those ten years were snipped out and time on either side stitched together. With a pair of climbing shoes it would have been an immediate return to that familiar rock. It’s also easier than the Scienceworks wall. The hardest parts of Nightingale St, the horrible slopers and awkward combination of edges, gastons, and that very weird thumb-push from underneath keeping me attached just long enough to slap through — a wall I never completed even though I strung together individual sections — are around the average of Scienceworks wall. I’d love to come back and spend some weeks just doing laps on all these.
After reading Moon Over Soho and Rivers of London, books 2 and 1 respectively of Ben Aaronovitch’s Rivers of London series, I ordered the lot (except the latest, it seems), and read them. And I was in London! So I was all, “I love this city!” and felt like I knew it so much because of these novels. What I call “Harry Potter if he was a black cop in London, played by a young Idris Elba, or Stormzy, and Hermione Granger was a Somali Muslim cop on the Murder Squad.”
I slammed the whole series over the last two months, as they arrived, and usually in a couple of days per novel, except when I was on tour — so they’re also firmly bound with the joys of travel and rivers for me now, the Danube and Thames, which is fitting. Whispers Under Ground doesn’t obviously follow the larger story of the Faceless Man, which almost makes these first three stand-alone works. It does introduce a whole pile of characters, locations, peoples, who fill out the world of the series in this and later novels.
I’m probably going to re-binge the whole series in the coming weeks (just need to re-buy Rivers of London first), which tells how much I’m enjoying these. Funny that they’re a series too, ’cos I’m always reluctant to commit, but cheers to Gala for introducing me to this. Best joyous fantasy read of the twenty-tens.
Morning ride in the forest around Flughafen Tegel last weekend, when I was on residency in Isabelle Schad’s studio in Wiesenburg, Wedding. Up by the small lake, “Cripes that’s a massive dog,” at the dark, solid mass running across the track. “That’s no dog!” I think as it pauses and give me the beady eye in profile, “Wild boar! Cripes it’s big!” It potters off on skinny legs into the undergrowth where I can hear it and companion scruffing and foraging. This is right at the narrow end of the forest, houses and backyards just beyond the block of trees.
As usual, I pause on the lake rotunda and enjoy the view and stillness. A woman comes by with a pair of dogs. I say, “Excuse me, are you going left up ahead?”
“Are the wild boars out? There’s more than twenty of them in the forest,” she replies, quite proud of her mob of swine. “We had at least 14 piglets this year!”
Berlin, where I’ve run into a fox by Alexander Platz, saw another hunting a cat at night in the Uferhallen, where the forests in the city are full of wild boars, and there’s rumour of a wolf in Grunewald.
When Dasniya and I were rehearsing and performing at Rökridån in Stockholm earlier this month, Gabriel Widing—one of Rökridån’s creators/part of NYXXX took some photos. (Apparantly there’s video(s) somewhere also.) They’ve been sitting on my desktop for two weeks glaring at me; every day, “Why are we not on supernaut yet, Frances?” And every time I look at them, I want a whole hour or ninety minutes of this.